I,Science Issue 39 Artwork

Following on from the great feedback we received for using reader artwork in previous issues, our Pictures Editor, Taryn Kalish, reached out to our readers again for their artistic input for our Spring 2018 issue, Design.

Below, we look at each piece more closely.

We would like to thank all of our contributors for these wonderful pieces.

If you would like to be involved in contributing artwork for the next issue, please contact Taryn at tarynkalish23@gmail.com.

In the spirit of collaboration, we wish to thank our friends at the Royal College of Art and Central Saint Martins for their stellar contributions, alongside our resident artists.

Beasts by Nicholas Baird (http://wwwnicholasbaird.com)

The skull of an American pronghorn (Antilocapra americana) seen from above.

 

IC Fluorescent by Reggy (Tong) Liu

 

Trailcatcher by Rose Zhou (@rosezmmm)

This image was generated through Rose’s projection based interactive installation during the Tate exchange. Contour lines were drawn in real time from a participants movements, indicating areas of highest activity.

The piece considers the role of the interaction projection as an augmented mirror, resonating with the idea of humans and machines working together creatively.

Accepting the Incision Model (2015) by Sabrina Hasan

(http://www.sabrinamumtazhasan.co.uk/ & @sabrinamumtazhasan)

This piece highlights the importance of cut aways and incisions mediated onto synthetically produced skin fabrics. Looking into the protective layer of interrupting the host environment.

 

Parasites That Hand (2017)  by Sabrina Hasan

(http://www.sabrinamumtazhasan.co.uk/ @sabrinamumtazhasan)

Socio-Parasitology coins my current practice. This hanging parasite performs without a meta position; as positive parasite-host interruptions run parallel to human behaviour.

 

Psychosomatic Disorders for the Organic Patient (2016) by Sabrina Hasan

(http://www.sabrinamumtazhasan.co.uk/ & @sabrinamumtazhasan)

This rug sculpture focuses on the interplay between texture and signage. It gestures towards producing a stamp for bodily disorders, modelling into the organic patient.

 

XXX by Leong Jin Ean

 

Mother Nature by Tere Chadwick

(http://www.terechad.com/ & @terechad)

Etching of a man looking at his tablet instead of the magnificent tree.

 

XXX by Pod Hughes

(http://www.podhughes.com & @pod_hughes)

This piece expresses the idea of toxic compounds binding with plastic. Therefore causing a knock-on ripple effect through the food chains, releasing toxins and harming any organism that unknowingly eat them.

 

Blue Planet Plastic by Lois Bentley

(lois.bentley@icloud.com & www.bridgesfm.com)

 

Intelligent Topography by Becky Lyon

(http://www.elasticfiction.co)

These photographs show vacuum-formed prints that offer a sensuous tactility. There is both a clear physicality but also an amorphous layer that’s hard to grasp – much like the senses.

 

Monster by Flora Weil

(@florawl)

The bias that exists in machine learning algorithms is a monster of our own creation. Monster is a manifestation of such a creation playfully generated using the conceptual illustration of a neural network.

 

a and b by A. Marta Ferreira

(http://www.amartaferreira.com)

Photographs of modified E. Coli bacteria after 8 days of incubation.

 

Pathways by Priya Odedra

(http://www.pdotart.com)

 

 

XXX by Jasmine Smith

(@jerzmin & jsm132@u.rochester.edu)

The background is composed of octave waveform, enveloping the person inside.

 

Multispectral satellite image by Hannah Fisher

This is a multispectral satellite image of London and its surrounding area, taken from Landsat 8 on 17 November 2017.

Landsat 8 rotates the earth on a 16-day cycle and is part of the Landsat Data Continuity Mission, a collaboration between NASA and USGS, which uses satellite imaging techniques of multiple bands of different wavelengths to collect different types of information.

The image has 30m resolution (i.e. one pixel in the image represents 30m on earth’s surface). The multiple bands were combined into one image, and different bands were selected to highlight different types of land cover.

Normally, bands 2,3 and 4 correspond to red, green and blue colours which combine to make normal images.

This image is a false-colour composite – band 7 = red, showing short wave infrared waves, band 6 = green, also showing short wave infrared waves, and band 4 = blue, showing what is normally shown as red. Therefore, this combination highlights the urban rural divide: urban environments are cyan, while rural areas are red.

 

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